C01PAC.T Studio One and has made radio and television appearances in the U.S., Spain, .1IW University of Washington D\Sc.. Costa Rica, and Korea. THE SCHOOL OF MUSIC As co-founder of the Corigliano Quartet, Lim has won numerous awards. W:;, including the Grand Prize at the Fischoff Chamber Music Competition and the Presents a Debut Faculty Recital: TO--', ASCAP/CMA Award for Adventurous Programming. The Corigliano Quartet OD maintains an active performing schedule. having appeared at such venues as 1­ t '1 Carnegie Hall, Weill Recital Hall, Alice Tully Hall and the Kennedy Center. Lim has also performed as concertmaster of the Hartford Symphony Orchestra and the Evansville Philharmonic, and currently holds a position at the Metro­ politan Opera House as a member of the American Ballet Theatre Orchestra, in o~ which he has performed as Assistant Concertmaster. MELIA Lim's violin teachers have included his mother, Sun Boo Lim, Vartan Manoogian, Josef Gingold, Mauricio Fuks and Yuval Yaron. He received ~ bachelor's and master's degrees from Indiana University, where he won first prize in the school's Violin Concerto Competition. Lim served on the faculty at Indiana as a visiting lecturer and later taught chamber music at the Juilliard WATRAS, School as an assistant to the Juilliard String Quartet. He has also served as musical artist in residence at Dickinson College and on the faculty of the New York Youth Symphony Chamber Music Program. viola RICHARD KARPEN (b. 1957, New York) is Director of The Center for Digital Arts ang Experimental Ms-:dia (RXARTS) at the :U;niversity of Washington in Seattle. At the UW he is also Professor of Music Composition and Computer Music. Karpen's works are widely performed in the U.S. and internationally. He has been the recipient of many awards, grants and prizes including those from the National Endowment for the Arts, the ASCAP Foundation, the Bourges with Contest in France, and the Luigi Russolo Foundation in Italy. Fellowships and grants for work outside of the U.S. include a Fulbright to Italy, Stanford Univer­ Q sity's Prix de Paris to work at IRCAM, and a Leverhulme Visiting Fellowship to CRAIG SHEPPARD, piano the United Kingdom. He received his doctorate in composition from Stanford University, where he also worked at the Center for Computer Research in Music and Acoustics (CCRMA). He is a native of New York where he studied compo­ sition with Charles Dodge, Gheorghe Costinescu, and Morton Subotnick. In and addition to Karpen's work in electronic media, for which he is primarily known, he has composed symphonic and chamber works for a wide variety of ensem­ ~ bles. Karpen is acknowledged as one of the leading international figures in MICHAEL [INSOO LIM, violin Computer Music for both his pioneering compositions and his work in develop­ ing computer applications for music composition and sound design. Along with numerous concert and radio performances, his works have been set to dance by groups such as the Royal Danish Ballet and the Guandong Dance Company of China. Karpen's compositions have been recorded on CD by Le Chant du Monde/Cultures Electroniques, Wergo, Centaur, Neuma, and DIFFUSION i MeDIA. A forthcoming Centaur CD (autumn 2005) of his works will feature 7:30PM several leading international performers including Garth Knox (viola), Stuart October 19, 2004 Dempster (trombone), and Jos Zwaanenberg (flute). MEANY THEATER D~~ I tt, 9- 1'1 ..... .",... PROGRAM BACH: SONATA FOR VIOLA DA GAMBA AND KEYBOARD NO.3 IN G MINOR c...tJtP:.i Lt .1- -z...O Bach composed three sonatas for viola da gamba and keyboard in the late 1730's or very early 1740's in Leipzig. By this time the viola da gamba was Viola da gamba and 13; 6 ill~ONA'rAfor r­relatively old-fashioned, already being replaced in Italy by the more modem J. BACH (1685-1750) ..K?bo,ard No.3 in G minor, BWV 1029 .................. S. cello. Ironically, Bach wrote the gamba sonatas in a contemporary, Italian style, while when he wrote for the solo unaccompanied cello, he chose to write in the Vivace older dance suite form. The first two gamba sonatas each contain four move­ Adagio ments, in the slow-fast-slow-fast form, while the third sonata follows the three Allegro movement format of the concerto. The 0 minor sonata also has a different tone, more extroverted and virtuoso than the frrst two. {Melia WatrasJ III SOLO/Turn: VARIATIONS ON ANIRRATIONAL NUMBER KARPEN: SOLOITUTTI: VARIATIONS ON AN IRRATIONAL NUMBER FOR AMPLIFIED for amplified viola and r::;; IJ VIOLA AND REAL-TIME COMPUTER PROCESSING (2002) SololTutti explores the genre of the musical solo using the computer to real-time computer processing (2002) .............. RICHARD KARPEN (b. 1957) extend the performer and the instrument. It is a work not so much for viola as for violist. The merging of person and instrument interests me greatly. Each player is one manifestation of the current state of a continuing oral history of their instrument. The history is physical, existing within the body as much as in INTERMISSION the mind in a kind of "body knowledge" which I believe is real and substantive. The title, SololTutti, refers at the same time to the traditional musical meanings of these terms and to the nature of the performer/computer interaction. The computer part results entirely from the real-time computer processing of the live ill Duo IN IIMAJORfor Violin and Viola, 20\51 input of the viola. The performer now has many arms, hands, and fingers play­ K. 424 ................................................................ W. A. MOZART (1756-1791) ing several instruments at the same time but always based on the visceral knowledge ofthe one instrument being played with the one body. The computer part for this work relies heavily on the real-time version of Adagio-Allegro software I developed for time-scale modulation to capture the sound of the viola Andante cantabile and alter the speed to create a sort of alter-ego to the live viola. The time-scales Tema con variazioni: Andante grazioso-Allegretto-Allegro vary throughout the piece, at times creating dense polyphony, aggressive virtu­ osity, and delicate heterophonic textures which are like fore and after shadows of the viola. The subtitle: Variations on an Irrational Number, refers to the value re. The ~ SONATA IN II MAJOR Z. 2-'/'50 work uses re as a source of pitch material and structure, as well as a source of inspiration. The work has four primary sections, each of which uses the values for Viola and Piano, Op. 36..................... HENRIVlEUXTEMPS (1820-1881) of re in a different way to create form and materials. [Richard Karpen] Maestoso-Allegro Barcarolla: Andante can mota MOZART: Duo IN B-FLATMAJOR FOR VIOLIN AND VIOLA, K. 424 Finale scherzando: Allegretto Mozart's two duos for violin and viola (0 major, K. 423 and Bb major, K. W5V\(Oye.. - Kv-e..lsl..e (~Y1sc....i'\.rnCTV\ ~ 424) were actually first performed as the work of Michael Haydn, composer and brother of Joseph Haydn. In 1783, while in Salzburg to work with the librettist G-~v <:...¥-- ! c:;y.p'vwLo (. '2. '."33) Varesco on the opera L 'Oca del Cairo (K. 422), Mozart was visited by Michael, who, due to illness, was unable to fulfill a commission from the Prince Arch­ t.LAS31\;AL bishop. In a generous gesture, Mozart offered to write the required pieces (two KINGFM98.1 duo sonatas) for the ailing composer. Having already composed the Sinfonia Concertante for the same combina­ to study chamber music at the Juilliard School, while also teaching as an assis­ tion, Mozart had explored the technical and emotional capacities of the violin tant to the Juilliard String Quartet. Watras served as musical artist in residence and viola duo with brilliant results. Mozart preferred to play viola during cham­ at Dickinson College and on the faculty of the New York Youth Symphony ber music sessions and his love of the viola is evident in his writing for strings. Chamber Music Program. In 2004 she was appointed assistant professor of {Melia Watras] viola at the University of Washington School of Music, where she teaches viola and chamber music For more information on Melia Watras, please visit www.meHawatras.com. VIEUXTEMPS: SONATA IN B-FLATMAJOR FOR VIOLA AND PIANO, OP. 36 Belgian-born Henri Vieuxtemps began his study of the violin at age four with his father, an amateur violinist and luthier. He soon was drawing comparisons CRAIG SHEPPARD came to the UW School of Music in 1993. A graduate of both to the legendary Paganini, as he embarked upon a brilliant solo violin career that the Curtis Institute in Philadelphia and the Juilliard School in New York City, he he would sustain until the age of 53, when he suffered a stroke which left his studied with Rudolf Serkin, Sir Clifford Curzon, Eleanor Sokoloff, Sascha right arm paralyzed. Undoubtedly one of the greatest violinists of his genera­ Gorodnitzki, and Ilona Kabos. tion, Vieuxtemps also excelled as a composer. In the tradition of violinist-com­ Following his New York debut in 1972, he won the silver medal at the Leeds posers such as Paganini, Spohr, and de Beriot, Vieuxtemps used his intimate International Pianoforte Competition in England and moved there in 1973. He knowledge of the instrument to produce an idiomatic and compelling body of quickly established himself through recording and frequent appearances on BBC work for the violin. radio and television as one of the preeminent pianists ofhis generation. Also an excellent violist, Vieuxtemps wrote a small group of compositions Sheppard has performed with all the major orchestras in Great Britain, as for the viola as well as three string quartets.